Review by: MISHA KOTOKI found myself receiving press approval for a show last Wednesday that I thought was as impossible to get into as getting The Rolling Stones to stop playing music. I’m in fact referring to is the infamous British progressive rock band YES, which I am at least 30 years too young to have the pleasure of reviewing, because let’s face it – if you’re under the age of 30, odds are that you’ve never seen or heard this band before.

Coming from the Pink Floyd/Rolling Stones era, my first exposure to this band came from a 50-year-old family friend who insisted YES was the only music in the world worth listening to. Powering through communal dinners and large-scale gatherings, my family friend managed to have me hanging on to his every word, curious about his love for the group.

To put it simply, if you haven’t heard of the music before, it’s not too late to give it a chance. (It’s never too late for good ole’ rock n roll!!!)

Arriving at Massey Hall a modest 45 minutes early, it gave me leeway to get acquainted with the venue for the first time. Being one of the first attendee’s I found my seat easily, feeling lucky that I didn’t have to push my way through the sold out crowd that had been promised for the night. After taking a brief walk around the venue, scoping out the balcony and mezzanine area’s in complete jealously, I returned to my seat and observed the unvaried group of people slowly dragging their feet into the venue.

Spotting three men rolling in wheel chairs and a handful of patrons with walkers and canes, I realized that I was the youngest audience member, reasonably, by at least 20 or 30 years.

When 7 p.m. hit and YES took the stage, I was completely enveloped by the extraordinary sound that was taking over the whole venue. However, for the first ten minutes or so, my experience was diminished by late arrivals slowly finding their seats – entirely blocking my view of the beautiful presentation that the band had prepared to exhibit their careers success as a band.

YES kicked it off with the opening track from their 1972 album of the same name, Close to The Edge. Seeing as they were a band with some history under their belt, they jumped right into their performance, conveniently displaying their set list on large monitors. Without even realizing how many songs had gone by, as they all transitioned together in easily the most beautiful display of sound I have ever had the privilege of experiencing, I glanced at the clock noticing they had been playing for 45 minutes straight. It was then that bassist, Chris Squire, stopped and explained to the audience that they had just heard the whole Close to The Edge album in its entirety, and not only that, but next up they were going to grace us by playing Going for the One from front to back as well.

All eyes were on guitarist Steve Howe as he took over the stage, strumming into the title track off the album and continuing on with the first leg of their show. Changing from guitar to keyboard to a mounted guitar (tuned differently than his upright guitar) Howe entertained the crowd in the most brilliantly original and remarkable way seen.

Now aged and experienced, this group of mix n’ matched modest men, who let their music speak for itself, were in need of a break after their impressive two album play through. So when it came time for intermission the band quickly walked off stage, projected “Intermission, back in 20 minutes,” up on the monitors, which signalled the audience to jump up out of their seats and stretch their legs.

Outside a man easily three or four times my age approached me and requested to borrow my lighter. After complying with his request, he decided to stick around and chat for a minute. “It’s my 20th time seeing them,” he said completely dumbfounded after I had told him that it was, unfortunately, my first. “I saw them for the first time in 1975 with the original line-up,” he br

Beyond The Watch:Sunday, May 5, 2013 3:05 PM

Words by Justin Emmett

Last night the great progressive rock band Yes appeared at the legendary Massey Hall to the delight of their well-received fans. The weather may have been a disaster, coming home without power or running water- but the Yes vibes managed to hold together a community of music lovers that make it worth it to brave the weather. The average Yes-goer appeared well dressed, some with longer hair than others, long grey curls littered among the crowd that seemed younger than the 20 something cynical music listeners that frequent the back of the GO train after a show.

The band began by playing their acclaimed 1972 album, “Close to the Edge” from start to finish. With three of the original members (this band has a grocery list of talent that has played with them) rocking the stage and a fresh Jon Davison leading vocals through the Yes experience without missing a note. The only time Yes slowed down was during the 20 minute intermission where fans gathered and took photos of the stage. Listening with other fans reminiscing over the 70s, the value of real rock and roll, tripping in the 60s, inner peace and other casual topics you might find at a Yes show. Yes followed up with “Going for the One”, start to finish followed with “The Yes Album”. It’s hard to rate a show that is so infinitely beyond any concert experience that you might find from a younger band, which isn’t a slight to the new artists gracing the stage these days but its practically impossible to calculate how much talent is on stage at a Yes show. It is rare that a band with so much history actually gets together and plays full albums worth of music, let alone three! The last time I saw Yes at Massey Hall, Benoit David was singing for the band. It was a good performance but I really enjoyed the youthful energy of Jon Davison, who brought more to the Yes experience with an incredibly humble and welcoming stage approach. The presence of Yes essentially driving from the chemistry of Steve Howe, Alan White and Chris Squire – complimented by keyboardist Geoff Downes, who managed three keyboards like an octopus. Between the hardware used by Chris Squire and Steve Howe, I had my fix of musical greatness. A triple neck bass is large and intimidating only 10 rows away, and watching Howe manage two guitars at once is awe-inspiring.

The value of a Yes show is timeless, and they don’t charge six hundred dollars a ticket like the Rolling Stones.

Highlights include a godlike guitar performance by Steve Howe during “Clap”, and an encore presentation of “Roundabout” that had the audience on their feet filling Massey Hall with the quality collaboration of a great band and loving crowd – something fans grown accustom to while attending this historic venue.

Panic Manual:Friday, April 19, 2013 9:57 PM

Progressive rock. Prog rock. The term alone conjures up a lot of dodgy images amongst music fans of a certain ilk – old British dudes wearing capes, rows and rows of synthesizers, extended bass solos, concept albums about post-apocalyptic societies, Phil Collins … I could go on and on. In fact, to illustrate the perceived negative connotations of prog rock, I’ll tell you a story. Late one evening a few years back, I found myself in a club where there was a band playing cover tunes. Instead of a bass player, this band had a dude playing a Chapman Stick. After they finished their first set, I approached Mr. Chapman Stick – “Hey, I demand you play a King Crimson song.” “Yeah, that’d go over really great,” said Chapman Stick sarcastically, “I might as well play some Yes.” “That’d be ever better!” I replied earnestly. He thought I was taking the piss, but I wasn’t. I just love Yes.

The British prog rock legends are currently on a tour focusing on three of their classic albums from their heyday – The Yes Album (1971), Close To The Edge (1972), and Going For The One (1977). In other words, this was a bit of a nostalgia trip. The fact that they were performing these albums live in their entirety for the very first time definitely made this a draw for the hardcore fans.

The band took to the stage and got right down to business immediately, launching into “Close To The Edge.” It actually took me a minute or two to realize that they weren’t actually playing the albums in chronological order. I guess I got lost in the moment or something. The songs on this album are easily among my favourite Yes songs. Broken up into movements and full of all kinds of changes, they highlight the band’s virtuosity to great effect. “And You And I” (which inspired Joss Whedon to name his production company “Mutant Enemy”) was one of the highlights of the set, though the harmonica played by Chris Squire at one point did seem a bit incongruous. It wasn’t until they finished the first album cycle that bassist Squire addressed the audience, noting that this was the first time they’d played that album in its entirety in Toronto. He then passed it off to Steve Howe, who told a story which as far as I could tell was about how they got into skiing while recording the next album to be performed, Going For The One. Who knew?

I will admit to not being as familiar with this one as the other two albums; I may be a fan but I am by no means a Yes completist. That said, tracks like “Parallels” and the title track (with it’s memorable steel guitar opening riff) sounded great and certainly give me reasons to delve further into the band’s back catalogue.

And then there was a 20 minute intermission before the band returned to finish off this trilogy of sorts with The Yes Album. Because really, after an hour and a half of Yes spanning two full albums, both band and audience could use a bit of a break.

Overall, while this show might not have changed the mind of anyone who wasn’t already a fan, for those who already were, we were treated to a solid set from a band that’s kept going throughout multiple lineup changes throughout their career. Of those lineup changes, one significant difference in recent years is the addition of singer Jon Davison after the departure of Jon Anderson. Though, if you closed your eyes you might not even notice the difference as Davison is vocally a dead ringer for Anderson, hitting those high notes while clearly having the time of his life up there with a band that he likely grew up on.

After roughly two and a half hours of music, I doubt anyone would have felt cheated had it ended there, but the band did indulge the audience with an encore of “Roundabout” off of 1971′s Fragile. It was a good choice to go out on, as it had pretty much the whole crowd on their feet. Though speaking of being on your feet, I did notice a certain contingent in the audience who gave the band a standing ovation after every

Rock Show Critique:Friday, April 19, 2013 9:47 PM

Review by Joseph Suto

On a cold damp dreary Thursday night, Yes brought their latest tour to Massey Hall in Toronto. The show was the bands next to last on this first leg of their tour. While the band has had many incarnations throughout its existence, the core of drummer Alan White, guitarist Steve Howe and bassist Chris Squire have been the bands most stable members in recent years. Rounding out this particular lineup were keyboardist Geoffrey Downes and singer Jon Davison. The band had chosen to try something it has never done before and that is play three albums in their entirety.

With an early 7pm start time, the band started off with Close To The Edge in what many regard as the best Yes album. Originally released in 1972, the album still remains the bands’ highest charted album as it climbed to #3 on the Billboard Album Charts. At the centerpiece of the album is “And You And I”, a wondrous track that consists of four movements.

Up next came perhaps the least heralded album of the night 1977s Going For The One. While songs from this album rarely appear in the bands set lists, the diehard fans in the crowd enjoyed the rare treat. The highlight came in the form of “Awaken”, a track former lead singer Jon Anderson considers Yes’ most complete composition.

This show was the first I was able to see with Davison at the vocal helm and I must say he seemed to have more stage presence than his predecessor Benoit David. Davison also sounded very good vocally as he was heard clearly and sang the songs as they should have been performed.

After a brief twenty minute intermission the show continued with the bands classic 1972 release the Yes Album. The band has been mixing up the playing order of the three albums throughout the tour. The arrangement that was performed on this particular night was the one I envisioned working the best. The band did not disappoint.

The Yes Album was the first to feature guitarist Steve Howe. Howe was left alone on stage to perform “Clap”, an acoustic instrumental piece that received an extended ovation at songs end. Howe at sixty-six years old can still play guitar at an extraordinary level. He also drew the biggest response from the crowd when each member was separately introduced. Howe had recently left his other band Asia so he can focus more on Yes and other solo projects.

As the band played through The Yes Album, other highlights were “I’ve Seen All Good People” and the crowning track “Starship Trooper” which was the song of the evening.

The band came back for an encore of “Roundabout” and left the crowd wanting more. As the band came together at the front of the stage, the thunderous ovation was one that stood out over recent memory. It appeared the band was overwhelmed as they soaked in the adulation.

Yes fans were treated to what clearly stands out as the best tour by the band since their thirty-fifth anniversary tour back in 2004. Sometimes if you change the personnel it works, sometimes it doesn’t. On this particular evening the band played like a fine wine that continues to get better as time goes on.

Anthony David:Thursday, April 18, 2013 1:19 PM

T MAK WORLD

"Oh YES! Three full albums from the 70's prove that album rock is viable even 40 years later."

Review by Terry Makedon

April 11 2013 – One of the most prolific classic rock bands put on a musical workshop tonight at Toronto's fabled Massey Hall. Yes delivered a mind blowing set of progressive rock that transported the sold out venue to the 70's. The current incarnation of Yes includes Chris Squire on bass, Steve Howe on guitar, Alan White on drums, Geoff Downes on keyboards and vocals compliments of the new guy Jon Davison. Even casual fans will note that the band's original vocalist Jon Anderson is not listed as he has not been part of Yes since 2004.

On the day of the show the band posted on their Facebook page the following tidbit of rock trivia:

Hello Toronto! We're here in town and so looking forward to playing for you tonight at the beautiful and historic Massey Hall, where we've played five times before.How many were at Massey Hall in 1997 when we played two shows on the Open Your Eyes tour? And how many recall our very first show here in 1971 at the Borough of York Stadium?

The concept for tonight's show was very simple – the band played 3 albums in their entirety. What a brilliant idea! On tap were 1971's The Yes Album, 1972's Close To The Edge, and 1977's Going For The One. The concept of a band or artist playing an album from end to end is not a new one, but this is the first show that we know of that offers 3 of them! This is a perfect ode to vinyl records (which are actually having a bit of a revival currently) and the memories many in attendance had of holding any one of the three aforementioned records in their hands, listening to 1 side and then flipping it over to listen to side 2. It must be noted though that of tonight's lineup only two members played on all of those 3 records (Howe and Squire), and one member played on 1 record (White).

As many bands go through lineup changes it becomes very rare to see a classic rock band play with the exact same lineup as their glory days – some bands even tour with only one original member. That whole concept provides a topic which can be debated for hours; was one seeing Yes tonight, or a tribute band with a couple of original Yes members? The answer is really irrelevant because the end result is the same. A night of fantastic old school guitar and keyboard influenced masterpieces of a bygone era.

The concert began promptly 5 minutes after advertised start time at 7:05 with some pre-recorded classical music (Firebird Suite by Stavinsky) and a video featuring iconic album covers from the band and previous musicians in Yes (according to Wikipedia there have been 18 musicians that have been part of Yes – including the 5 on stage tonight). Fully expecting to hear the opening song of The Yes Album "Yours Is No Disgrace", I was a little disoriented as the band kicked off with Close To The Edge instead. I was somewhat disappointed as I was expecting the albums to be played in chronological order but that was not the case tonight (or any night of the tour so far as the band seems to be mixing up the order of the albums but never in chronological order). Tonight the band flipped the earliest album to the end of the show and delivered Close To The Edge first, then Going For The One, and then The Yes Album. {Ed Note. We have an update submitted by one of our readers – it seems that in San Francisco the band did play the bands in order so our earlier comment of the band not having played them chronologically is incorrect}

Howe celebrated his 66th birthday earlier this week and was in top form. Certainly a highlight of the night, most people (myself included) were blown away by the technical mastery required to consistently nail the time changes of the songs. Howe was all business and although he looks a lot older than he is, his fingers were as agile as ever. He switched betwe

Anthony David:Tuesday, April 16, 2013 7:33 AM

BlogTo review:

Yes brings prog back at Massey Hall

Posted by Rick McGinnis / APRIL 13, 2013

For those of us who came of age with punk, the prog rock played by bands like Yes was big brother music, the first really interesting stuff you'd hear that your parents would never admit to liking, but something you'd jettison as soon as you put on your first Ramones t-shirt. That, coloured by prog's 'undeniable 70s heyday, meant that when Yes stopped into Massey Hall last night to play three of their classic albums from front to back, they were turning Toronto into a big, shag-carpeted rec room, and the beloved concert hall on Shuter Street into a pair of vintage Pioneer headphones.

The band began their show with Close To The Edge, the 1972 album that's considered their masterpiece, though only two of the five musicians on the stage - guitarist Steve Howe and bassist Chris Squire - actually played on the record. Drummer Alan White joined Yes after the album's release, while keyboardist and onetime Buggle Geoff Downes played with them for just a year in the early '80s before rejoining in 2011.

Most conspicuous by his absence was original vocalist Jon Anderson, who seems to have switched his on-again/off-again relationship with the band permanently off. His young replacement, American Jon Davison, just joined Yes last year, after doing time in, among other things, a Yes tribute act. It's hard to imagine Yes without Anderson's vocals, and if you were feeling uncharitable, you'd probably describe the band that took the stage at Massey Hall as the greatest Yes cover band ever.

For the first few moments of Close To The Edge's four-part, 20-minute long title track, it was hard not to compare Davison to Anderson; his voice is reedier than Anderson's steely alto, a bit more falsetto (as any muso might tell you,) but he's clearly studied Anderson's vocals rigorously, and fans should probably be grateful that he'd be more likely to duplicate the sound of the original records than an aging singer bored with the idea of repeating something he did forty years ago. Plus his name is Jon, which has got to help.

Without a break, the band launched into Going For The One, the 1977 album that Yes released in the teeth of punk. Probably their last truly classic record, it's been unfairly overlooked, and I only owned my copy for about a year before the shamefaced prog purge I made of my record collection after seeing the Damned on TV late one night. I didn't notice until much later that the title track, with Steve Howe playing furious lap steel, is Yes doing rockabilly, though thanks to Howe's introduction to the track at Massey Hall, I learned that the song is about skiing, of all things.

If any member of Yes embodied the prog spirit of unencumbered virtuosity it was guitarist Steve Howe, who played a whole family of stringed instruments during the show and seemed to have a new guitar for every song. It's hard not to see why the music of Yes and other bands was considered the enemy by punk bands, since they made the buy-in for a young musician, both in equipment and talent, seem daunting, even hopeless. When Chris Squire pulled out his triple-necked bass for "Awaken," however, it was easy to recall how punks like me would make fun of prog bands, with their flowing stage garb, arcane instruments and abstruse time signatures. Remember, though, that even Johnny Rotten would later admit that he never really hated Pink Floyd.

Looking over my shoulder as I researched the band before the show, my 9-year-old daughter said that everyone in the band looked like James May from Top Gear. At this point, they look a whole lot older; there were paunches aplenty onstage at Massey Hall, and no shortage of long, wispy hair over balding pates. The tragedy of bands of this vintage is that, sooner or later, they end up looking like their roadies used to.